Tonight
Ten for the evening
One to ten. Newest, most watched, highest on the Living Meter. Prime, Disney+, Hulu, Hallmark, Acorn, and Netflix.
A bright city, a careless heart, and a show that thinks chaos is charm.
Kitty Song Covey was the lively child in a better story about letters and a household of sisters. Set loose, she becomes the engine of a boarding-school farce: passports, matches, secrets read that were not hers. The city is handsome. The habit being taught is that a busy girl may arrange other people and call it love.
Not for the young ones. An older teen who already lives online will not be improved by it. If the house wants Seoul, pick a story where someone is actually trying to learn the place.
Industry
4/10
School is the address. Study is the interruption.
Household
4/10
A sister and a late mother are the excuse. The plot is crushes.
Piety
2/10
Seoul is a backdrop. The soul is not in the shot.
Courage
4/10
She gets on a plane. Then she lies to stay in the story.
Republic
4/10
A boarding house has rules. She treats them as obstacles.
Temperance
3/10
Meddling is the joke, and other people's privacy is the cost.
Truth
4/10
She wants a true family story and uses false ones to get it.
Stewardship
3/10
Nothing is being kept for the person who comes next, except a sequel.
Live historicallyAsk the teen in the house which of her plans are hers, and which are her managing someone else.
A girl who wants a family more than a crown. The history is a romance, not a record.
The film turns a murdered imperial family into a fairy tale. Know that before you put it on, and do not let a child leave thinking the history was this gentle. Inside the fairy tale, Anya wants a grandmother, not a title, and Dimitri's con science is converted into loyalty. Rasputin is a curse, not a political lesson.
Watch it as a story about a girl and an old woman finding each other. Say, if anyone is old enough, that the real house of Romanov did not get this ending.
Industry
5/10
A con, then a journey. Work is thin.
Household
8/10
The good is a grandmother and a name, not a throne.
Piety
3/10
A curse stands in for history.
Courage
6/10
She goes toward the city and the truth of who she is.
Republic
3/10
A court, romanticized.
Temperance
6/10
His greed gives way.
Truth
5/10
The film tells a kinder story than the century did. Know that.
Stewardship
7/10
What is restored is a family bond, and that part is the true want.
Live historicallyWant the people, not the palace.
Macabre jokes with a baby at the center. Fine for a family that already likes them and can take a mean wit.
Wednesday remains the conscience, which is a joke and also true. The camp is a bright tyranny of smiles, and the film is on the side of the children who will not perform it. Pubert is a baby the family actually wants. That want is the warm fact under the punchlines. The jokes are sharper than the first film, and some of them are only sharp.
A house with young children who frighten easily should wait. A house that can hear a satire of cheerfulness without copying the cruelty can laugh and still put the baby to bed like a normal gang.
Industry
4/10
Little labor. A household of hobbies.
Household
7/10
They want the child. The camp is the false family.
Piety
3/10
Ghoulish, not devout.
Courage
6/10
Wednesday will not smile on command.
Republic
5/10
A satire of the enforced good time.
Temperance
5/10
The meanness is the spice and the risk.
Truth
7/10
The camp's kindness is shown to be a costume.
Stewardship
6/10
It hands on a refusal to pretend.
Live historicallyDefend one child who does not fit the camp.
Ernest is ridiculous and brave. The troll is not a friend. A Halloween yes, with the lights on.
A troll turns children into wooden dolls, which is a child's nightmare of being made not-alive. Ernest, the town joke, is the descendant appointed to stop it. The film is broad and cheap and on the children's side. The adults who mock him are wrong. The troll is not given a sad speech.
For a family that wants a scare with a happy, loud ending. Not art. Not cruel. The fool goes under the tree because the children cannot.
Industry
4/10
A sanitation man. The work is showing up.
Household
5/10
He cares about the kids the town finds annoying.
Piety
3/10
An old curse, a milk-and-love remedy played straight enough.
Courage
7/10
He is terrified and he goes.
Republic
5/10
A town that will not believe him until the dolls pile up.
Temperance
6/10
The troll's hunger is the vice.
Truth
6/10
The children were right that something was under the tree.
Stewardship
7/10
The charge is the children, and he keeps it.
Live historicallyThe useful person may be the embarrassing one. Let them help.
A full house before the phrase was a brand. The number of children is not treated as a mistake.
Television later decided a large family was either a reality-show spectacle or a joke. This one thinks eight children and a working father is a life. It is soapy. The soap is about the right people. Worth having in the memory of what a house can be.
Industry
5/10
He writes for a living. The children have school and parts.
Household
8/10
Eight children and a father who stays. Later a stepmother who has to join a going concern.
Piety
4/10
Domestic decency, of the period.
Courage
4/10
The dramas are the size of a family that large.
Republic
4/10
A Sacramento household as a whole society.
Temperance
6/10
Earnest.
Truth
5/10
The problems are the ones a family actually has: money, a sibling, a marriage.
Stewardship
7/10
The children are the point, not the obstacle to the adults' plot.
Live historicallyCount the people you are actually raising, and give one of them an uninterrupted half hour.
The money is the joke. The kin is not.
Jed Clampett keeps his people when the money arrives. That is the part that is still useful, because money is exactly when households split. The caricature of backcountry people is broad and of its time. Do not learn sociology from it. Learn the refusal to let the mansion pick the family.
Industry
6/10
They got rich by work and a hole in the ground, and they do not pretend otherwise.
Household
8/10
Granny, Jed, Ellie May, Jethro. The household moves as a unit.
Piety
3/10
Granny's Bible is played broad. The family bond is not.
Courage
4/10
They are not ashamed in a room that wants them ashamed.
Republic
4/10
A satire of a rich neighborhood, from the porch.
Temperance
6/10
The excess is the mansion, and they are immune to it.
Truth
6/10
The joke is that the sophisticated people are the fools. Often fair.
Stewardship
6/10
They will not leave each other for the zip code.
Live historicallyIf money or status is pulling your people apart, choose the table. Jed would, minus the laugh track.
A real town trying to become a resort. The completion is froth on a good fragment.
Austen left eleven chapters about money, building, and a girl seeing a speculation clearly. The television needed couples, and supplied them. Watch the first series for the town and the money. Treat the later pairings as fanfic with a budget, which is what they are.
Industry
6/10
Building a resort, a fortune, a new street. Development is the plot Austen started.
Household
5/10
Guardians, sisters, a house of guests.
Piety
3/10
Manners stand in for worship.
Courage
4/10
Charlotte is game. The risks are social.
Republic
5/10
A town deciding what it is for. That is Austen's actual subject.
Temperance
5/10
The later series lean on the longing.
Truth
5/10
The fragment is honest. The added couples are a guess.
Stewardship
5/10
A place being made for the people who will live there, not only visit.
Live historicallyRead the fragment. It is short. Then the show has something true to decorate.
A careful voice for a baby. It is still a screen standing where a person should stand.
Ms. Rachel is one of the few people on this row who speaks to a baby as if the baby were a person. That is why parents trust her, and it is also the risk. A recorded woman cannot hand the child back. Use a song of hers when you need the words. Then use your own voice for the rest of the hour. The show is a tool. It is not a parent.
Industry
6/10
She is teaching, and the teaching is paced for a real infant.
Household
4/10
She borrows the tone of a mother without being one of yours.
Piety
3/10
Gentleness, not worship.
Courage
2/10
Nothing is risked.
Republic
4/10
Call and response is a small society, conducted by a stranger.
Temperance
8/10
Slow, kind, and not overstimulating on purpose.
Truth
7/10
The words are the words. She is not selling a second meaning.
Stewardship
4/10
A baby may learn a sign. The teacher leaves when you close the laptop.
Live historicallyTurn it off and say the same word yourself, in the room.
Loyalty to a household, from the floor. Slight, and on the right side.
Max's fear is the new dog in the apartment. Duke's wound is abandonment. The city is a comic underworld of animals, and the film's spine is two creatures trying to get back to a door that opens. Snowball's revolution against owners is the joke that has to lose, because the film believes a home is better than a grievance.
Not a great film. A fair one. The animals want their people. That is enough for a Friday.
Industry
3/10
They wander. The owner goes to work.
Household
7/10
Home is the good. Replacement is the fear.
Piety
2/10
None.
Courage
5/10
They cross the city.
Republic
4/10
A comic revolt against owners, defeated.
Temperance
5/10
Jealousy starts the trouble.
Truth
6/10
A house is not a prison in this story.
Stewardship
6/10
Getting them back to the door is the whole stake.
Live historicallyBe the person your animal, and your child, can find at the end of the day.
The potion is the villain. That is the correct instinct. The film is loud around it.
A love potion is a theft, and the story knows it. The people who brew it are not romantics. They are kidnappers with a bottle. The bog king, played as a monster, is the one who will not be drugged into a feeling. That reversal is the only reason to keep the film.
The rest is a jukebox turned up too high, and a fairy court that learns more slowly than the children watching. If you put it on, say the quiet part at the end: a feeling you poured into someone's cup is not a vow. It is an assault.
Industry
3/10
Little craft. A lot of sugar.
Household
4/10
Sisters, a father, a courtship that starts as a con.
Piety
3/10
Magic as a drug.
Courage
6/10
He refuses the potion. She crosses the bog.
Republic
3/10
A fairy kingdom of moods.
Temperance
7/10
The potion is condemned. Desire is not allowed to be the law.
Truth
7/10
Forced love is named as a lie.
Stewardship
5/10
The sisters get a truer ending than the potion wanted.
Live historicallyRefuse one shortcut that claims to manufacture love.